
IDEAL 



by 

AVARGARE^ 
GREETiLEAT 



The Home Ideal 



By MARGARET GREENLEAF 




Chicago Varnish Company 

Chicago, 35 Dearborn Avenue :: New York., 22 Vesey Street 



A Foreword from Miss Greenleaf 




|N the matter presented in this little book, I have 
given complete descriptive color schemes of the room 
shown in the photographs. The greater number of 
these rooms are of my own designing. These 
photographs and the suggested schemes will, 1 hope, 
be of practical service to the woman who is planning 
her house. 

Having been engaged in practical house decor- 
ating and furnishing, I have, oi necessity looked fully into the question 
of what Finishes, Stains and Enamels would best produce the effects I had 
planned. The various dull finish stains, as well as the eggshell and the high 
gloss ivory white enamel, with the many other unique finishes, all made by 
Chicago Varnish Company, have given to me and to my clients complete 
satisfaction. I wish this book also to be a grateful acknowledgment that I 
have been able through their goods, to obtain artistic effects, which other- 
wise would have been impossible. These photographs show the successful 
combinations which may be reached through the medium of these softly 
toned and attractive wood stains, and exquisite enamels tor the standing 
woodwork of the room. 

In the m^^a^ind^a{td:f02^spaper:\s'(5rlf which I am conducting on these 
lines, I reach rtiifnypeo'ple'fn Temote^Sistf'icts, and from them I am in con- 
stant receipt of- Jett^r^s.; .'n-hese; .prove.. tjijit the materials manufactured and 
put upon theMinwk^t.' b'y.'(?hicag«''Vari:iW< Company (which ha\ e been used 
by my advice) are enabling the man of moderate means, as well as others, 
to secure for himself a home with a beautiful interior. 




COVVKHiHrED 1904 

by 

MARGARET GREENLEAF 



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'THE fhlLl.U Rt;(jK OF A PORCH CAN BE STAINED IF DESIRED 



TT has been said it is necessary to build three houses to finally achieve an ideal one. This 
may be true in point of convenience and the improved arrangement of the floor plans. 
Beauty for the interior, however, may be secured for the first house, as well as for the third, 
by judicious selection of finish for woodwork and floors, and a harmonious color scheme for side 
walls and ceilings ; for, considered together — as all of these should be — in perfecting a color 
scheme, this matter of woodwork and floor finish is a very vital one to the success of a room. 
The Chicago \ arnish Company offers to the owner of the simplest cottage as well as to the man 
who builds for himself a mansion, a selection of wood finishes, stains and enamels for woodwork 
and floors, which are entirely artistic, durable, and comparatively inexpensive. From among the 
variety offered, a suitable stain, enamel or finish can be found for each individual room. 

Some one has truly called the hall the index of the house. First impressions mean so 
much that it should be the earnest endeavor of all home makers to render this entrance and 
place of waiting beautiful, inviting and hospitable. 

The photograph here presented shows an impressive hallway, with a six-foot wainscot and 
wide stairway of oak with uncovered treads. It will be seen that the ceiling here is heavily 
beamed, with the same wood, and finished in the same way, and the floor also is oak darkly 
stained with English Oak Wood-Tint and softly polished. The side walls above the wainscot 
are of sand-finished plaster, treated with a water color wash, a rich, deep mulberry red in color. 
This is a red which shows purplish shadows, and combines particularly well with the strong brown 
of the oak. The rugs upon the floor are rare and richly colored antique Oriental ones, their 
beautiful sheen gleaming like jewels where the light touches them. The large central one is a 
Tabriz and shows the same deep mulberry color as the walls, but here it shades to a dull old 
pink interspersed with soft blue and ivory. Some of the chairs used in this hall are beautifully 
carved and of Austrian oak. This shows a lighter shade than the woodwork. The long 
seat under the stairs is upholstered in tapestry, and the curtains in the doorway are made of 
Kis-Kihlim rugs, repeating in lighter shades the coloring of the rugs used upon the floor. The 

5 




"SOME ONE HAS TRULY CALLED THE HALL AN INDEX TO THE HOUSE' 



rough plaster of the ceiHng between the beams is tinted a delicate shade of cafe au lait, and the 
great window set at the turn of the stairs is hung with curtains of rich Arabian lace of the same 
color. Over these are superb hangings of two-toned satin brocade, in mulberry reds. The 
bronze figures on the newel post, and all of the electric fixtures are most harmonious, the 
bronze toning perfectly with the brown of the oak and the deep color of the side walls. The 
stain used for the oak woodwork of this truly beautiful hall bears the trade name of Mission 
Oak Wood-Tint. 

This stain should be brushed upon the unfilled wood, and at the expiration of twentv-four 
hours the first coat of No. 20 Surfacer should be applied and lightly sand-papered after 
twenty-four hours, followed by one coat of Dead- Lac, when the beautiful color and soft finish 
of the woodwork are complete. The grain of the wood shows up well under this treatment, 
and the surface does not spot with water and is very durable. 

The architectural detail of this hall may be retained and other finishes employed for the 
woodwork. If an effect of golden or highly polished light oak is desired, the Weathered Oak 
Wood-Tint should be selected. This stain is brushed thoroughly upon the wood. The 
filler is then stained to the desired shade and applied, to be followed by from two to three coats 
of Shipoleum. F'orty-eight hours should be alloweci between these coats. The final coat to be 
rubbed to the finish desired. 

The side walls above the wainscot of a hall so finished would look well covered in a rich tap- 
estry paper, showing golden brown, green and dull blue in a mingled foliage effect. The ceiling 
between the beams should be tinted in rich old ivory, almost ecru. 

6 




"A MODIFIED COLONIAL HALLWAY' 



The portieres should be of golden brown cut silk velour, and this fabric should also be 
used to upholster the long seat. The floor should be stained several shades deeper than the 
woodwork, and upon its polished surface Turkish and Persian rugs used. A particularly good 
effect would be obtained by using an antique brown Beluchistan, as this would tone well with 
the surroundings. 

When a room or hallway, as in the reproduced photograph on page 6, shows modi- 
fied or Colonial detail in its architecture, ivory white enamel is often found most 
suitable as a finish for its woodwork. The hand rail of the banister here is of dark 
polished mahogany. This photograph is taken from a moderately-priced house. The glimpse 
it gives into the long drawing-room beyond shows the efi-ect of the Eggshel-White Enamel. 
For a house of this type, and where it is desired to get a maximum of good results from a min- 
imum of expenditure, this Eggshel-White Enamel is advised. The floor is of the combed 
grain Georgia pine left in its natural color, and treated and finished with Supremis Floor Finish. 

To obtain the best returns from the use of Eggshel-White, three undercoats of the Chicago 
Varnish Company's Flat Lead should be applied. These to be followed by two coats of Egg- 
shel-White Enamel. This gives the fine finish seen in the picture. 

A really old Colonial hallway is shown in the photograph on page 7, which shows much 
of white paneled woodwork. It has been stated that time and repeated applications ot fresh 
paint, applied through many successive years, could alone give the China-gloss finish and mel- 
lowed ivory tone seen in the beautiful old homes of Colonial days. White Enamelite, with its 
wonderful gloss and delicate ivory color, will, however, reproduce the effect of the finish to be 



i 




"SHOWS MUCH OF WHITE PANELED WOOUUORK. ' 



seen in these old houses, save that, by the use of the White EnameHte, this beauty of color 
and finish is obtained without the crackled effect, which is always noticeable on close examina- 
tion ot the paint used in the homes of our ancestors. Frequently where the ivory white wood- 
work is used tor paneling wainscot, the door and hand rail of the banister will be ot mahogany. 
The floor should always show a darker stain than the woodwork. The beautiful and lasting 
polish given by the use of Supremis Floor Finish makes this a particularly desirable varnish. 

In a simple cottage a five-foot wainscot of pine may be used. I have furnished a room 
that was hall and living-room combined, in which the rich dark brown of the woodwork showed 
waves of slightly lighter color produced by the grain of the wood. The floor was of a combed 
grain Georgia pine. The wall above the wainscot was covered with a cartridge paper, strong 
yellow in color, the ceiling being several shades lighter. This coloring harmonized perfectly with 
the woodwork. Crinkled glass in small panes was set in the lotig window on the stair landing. 
The woodwork, finish and coloring of the walls of this room went far toward furnishing it. The 
built-in ingle-nook seat had a cushion upholstered in dull blue. The same shade of blue showed 
in the rugs, together with ivory, yellow and a little crimson. The bricks about the fireplace 
were of creamy yellow and the andirons and hardware of the room were wrought iron. 1 he 
dark color of the floor, together with its polish, formed an excellent background for the rugs. 
The combed grain Georgia pine has a close, compact grain which makes it very desirable tor a 
floor that is to be subjected to hard wear. No filler is required for this wood. To secure a 
perfect result the wood must be entirely dry, clean and in good condition when the stain — 
English oak — is brushed upon it. The varnish is then applied. Three coats ot Supremis 

8 



Floor Finish, put on in accordance with the directions accompanying each can, never tail to 
give an entirely satisfactory floor. 

There are two wide doorways opening on opposite sides of this hall, one leading into the 
dining-room, and one into a small library or den. These doors were hung with curtains of dull 
blue jute velour. This material is double taced and fifty inches wide. It sells for $2.00 to 
$2.50 a yard. 

Some pieces of old blue and white china are used in this hall as a wall decoration, and the 
color scheme of brown, soft, deep yellow and dull and deeper blues is most pleasing. 

The living-room, as its name suggests, is the room of the house. Dignity with beauty and 
comfort and agreeable anci harmonious coloring seem essential in making this room all that it 
should be. Frequently the great hall of a house is also the living-room, and in houses built on 
a more modest scale, it sometimes serves as drawing-room and library as well. 

In deciding upon the woodwork and its finish for a room of this character, the exposure and 
lighting, shape and dimensions, should all be taken into consideration. The room pictured on 
page 10 is the ideal combination ot living-room, great hall, and reception-room, in a very elegant 
house. The color of the ceiling between the beams and the section of wall showing above the 
wainscot is deep saffron yellow, a shade and color that contrasts stunningly with the rich red brown 
of the mahogany with which this room is paneled. Books also find a place here. The dimen- 
sions of the room are 28 X42 feet. Richness of fabric, depth and vividness of coloring, as well as 
delicacy of sheen, are all embodied in the toning of this apartment. The satin brocade, used to 
upholster the furniture, is in two shades of blue — pastel and a much deeper tone. The same 
lovely material is used for the draperies at the great windows. The rugs, which are really 
carpets, are of antique Persian and Turkish weave, and show dull blue, crimson, and soft yellow 
as their leading colors. The stair carpet has also much of dull blue combined with pale tan. 
These colors are deepened in the rug, which lies nearest them. All of the electric fixtures and 
hardware are of old brass. The rich gold of the picture frames, and the gold showing in 
embroideries on cushions and tables, accentuate the coloring of the room. IVlany palms and 
flourishing ferns are placed eff'ectively about; and the beautiful window, which fills the end of 
the room, has set under it a seat upholstered in velour, matching in shade the darkest blue in 
the brocade of curtains and furniture. Curtains of filmy lace hang next the glass of the windows. 
Some pieces of upholstered wicker furniture, having cushions made from this same velour, add to 
the comfort of the room, and seem quite in keeping with its character; whereas, were it simply 
a stately hall or formal drawing-room, they could not be introduced. The bookcases are set 
in all available spaces. An inviting wing chair is placed cosily near the large reading lamp, 
which is set on a table by the open fire. 

It would be a difficult matter to find any color which would be as entirely acceptable, in 
such a room, as the yellow chosen, particularly where the ceiling and wall space for color is 
limited. Other shades of yellow might be used, but the rich color of the woodwork necessitates 
depth and strength in the shades selected. To obtain this color for the woodwork, Dark 
Mahogany Stain, No. 300, should be used. This stain is applied to the bare wood, followed 
by three coats of Hyperion Finish, the final coat to be rubbed to a high polish. This finish 
does not mar readily nor spot from water. 

The picture on page i i shows a portion of a hallway, with the stair, the living-room and 
dining-room opening on either side of it. The woodwork here is finished with Eggshel-White 
and also in the living-room, \yhich is only divided by half columns from the hall. The same 
wall covering is used in each, rendering them practically one apartment. The woodwork of 
the dining-room is mahogany, the coloring of the side walls soft dull green, this room having 
a southern exposure. The architectural detail of the hall and living-room is slightly suggestive 
of the Colonial, though in the hall much of the decoration and furnishing is Chinese and 




"AN INVITING WING CHAIR IS PLACED COSILY NEAR THE READING LAMP' 



Japanese. The motif for this is found in the two superb lanterns set on pedestals in the 
openings between the columns. The pale, rich colors which are so exquisitely mingled in 
the decoration of these huge pieces of porcelain, strike the note for the entire decorative scheme. 
Wonderful bronzes and carved black teakvvood chairs and cabinets, as well as some fine 
examples of Japanese embroideries, add to the rare beauty of this hall. The rugs are antique 
Oriental ones carefully chosen as to color. The pillows heaped on the rich crimson velvet- 
covered seat repeat in deeper shades the colors seen in rugs and porcelains. In the living- 
room, which is also the drawing-room, is continued this artistic mingling of Indian, Chinese 
and Japanese, together with much richly carved mahogany furniture. The wall covering is of 
pastel old rose velvet paper, showing two contrasting shades, which harmonize charmingly 
with the ivory tone of the polished woodwork. To obtain this, Eggshel-White is used. Three 
undercoats of Chicago Varnish Company's Flat Lead, followed by three coats of Eggshel-White, 
the final coat to be rubbed down with rottenstone and sweet oil. This produces an exquisite 
finish with a high gloss. 

The hangings of this room are much deeper in tone than the side walls, reaching almost 
crimson in color, but harmonizing perfectly with the dull pink. The rugs are rarely beautiful, 
showing much of the dim old pink, together with ivory, crimson, dull blue, tawny yellow, and 
faint green. The windows have wonderful East India embroidered silken curtains snowing the 
same colors, with a predominance of soft green. This green is seen again in the silk velour 
used to cover the carved mahogany sofa. The choice pieces of marble and rare articles of vertu, 
which complete the artistic beauty of this room, are chosen with taste and discrimination. 



lo 




'THE RESULT IS AS SATISFACTORY AS A PERFECT PAINTING' 



One great charm of this furnishing is that these rooms are in no sense overdone or over 
decorated. The subtlest art is used in the combining of the various colors, and in making the 
best products of many countries and periods harmonious. ■ The result is as satisfying as a per- 
fect painting. 

The floor of maple, finished with three coats of Supremis Floor Finish, applied over the 
No. 300 Mahogany Stain, is very dark in color, and shows a high polish. By the use of this 
Varnish, results are obtained which are only achieved otherwise by the old-fashioned and 
laborious method of waxing and polishing. 

In the days of our grandmothers, the houskeeping qualities ot a hostess were estimated by 
the number of prostrate guests she could count, the degree of slipperiness ot her floors showing 
the amount of care expended upon them. Now, however, the same shining and beautiful 
surfaces may be presented without the attendant discomfort to the unwary. One great recom- 
mendation for floors finished with Supremis is that they are not slippery. 

A simple living-room in an attractive and inexpensive house is shown on page 12. Here 
the woodwork and furniture are treated with the same color and dead finish. The standing 
woodwork in this room is of cypress, and the stain used is known to the trade as No. 315 
Light Brown. When this stain has been brushed upon the wood, it is given, after twenty- 
four hours, a coat of Orange Shellac, lightly sand-papered, and followed by a single coat of 
Dead-Lac. Furniture, such as is used in this room, may be made by a carpenter, as it is 
exceedingly simple but strong in construction. If made of oak, and treated with the same stain 
and finish as is given the cypress woodwork, the color, while harmonizing perfectly with that 

u 




"IN THE WINTER SEASON HEAVY DRAPERIES WILL FIND A PLACE AT THESE WINDOWS" 



of the wainscot, will show a differing tone, probably a trifle darker. An allowance must always 
be made for the differing shades produced on the various woods upon which the same stain 
and treatment is used. The grain of the wood shows so strongly (this being one of the chief 
charms of this treatment) that the lights and shades differ very materially. However, in using 
the two woods, one for standing woodwork, the other for furniture, the same stain and dull 
finish for both gives a beautiful effect which is entirely harmonious. The chimney-piece and 
the mantel shelf are of gray stone rough hewn. The plaster used below the shelt showing the 
same gray shade. 

The walls are dull green, and the ceiling pale old ivory. The large central rug shows old 
red and tawny yellow, and the chair seats are all of the same red. Much brass is introduced, 
and the cushions, covered in manv-hued but artistic East India cottons, suit the room perfectly. 
The pictures, which are all either black and white or water colors of delicate tones, are set in flat 
black wood frames. The brass and crystal used in this room seem entirely desirable. The 
strong green of the porcelain shades of the double lamp is repeated in the green of the fern 
fronds which decorate the opposite windowsill. 

In the winter season heavy draperies will find a place at these windows. These should be 
of rich, old red, upholsterer's velveteen, and, hanging straight, outline each window on either 
side to the window seat below. Bv old red, a shade of red is meant which shows depth of color 
in its folds, and a frosty white in the high lights. The fabric referred to is known to the 
trade as upholsterer's velveteen, but is really cotton velvet. It is a strong material and one 
that comes in excellent soft colors, which do not lose their beauty in fiding. It has the added 

12 



recommendation of being inexpensive. The bindings of the books on the built-in shelves add 
much to the color effect of this thoroughly artistic room. The clear, pure white of dogwood 
blossoms used on the reading table seem the most effective flower to use decoratively in such a 
room. However, the yellow of golden rod, or the purple of asters, would be quite as fitting. 
If the peculiar silver brown of the Light Brown stain does not appeal to one, the woodwork 
of such a room might be of oak, ash or chestnut, and treated with Weathered Oak Wood-Tint. 

In finishing floors where an open-grain wood, such as oak, is used, a silex or quartz paste 
filler of the best quality must be put on. Apply the stain first to the bare wood, following with 
the filler. Where it is desired to obtain a very dark color for the floor, the filler must also be 
stained to the proper shade. To each gallon of filler, allow half a pint of Supremis ; this to be 
followed by two light coats of the same Floor Finish. To secure a good surface the first coat 
should be applied only when the foundation is in perfect condition. Before applying this, as 
little water as possible should be used. The most desirable method is to use sand-paper to re- 
move spots or roughness, and in many cases this will be found to answer. A new floor should 
always be well protected by a covering, in which case it is usually found that a good sweeping 
only is necessary before applying the first coat. If, however, the floor is really soiled and needs 
washing, use clear water. If this alone is not sufficient, add a gill of household ammonia to a 
pail of water. Wash rapidly and rub the floor dry, washing again with clear water, to remove 
all trace of the ammonia from the wood. A wash which is perhaps even better than this, though 
a trifle more expensive, is a pint of alcohol to a pail of water. Except in the cases of open- 
grain wood, where filler is really required, the varnish wears best when applied directly to the 
bare wood. The question of when a filler should be used on standing woodwork is also a 
most important one. A very usual source of trouble comes from the fact that the builder does 
not always appreciate that most of the woods used for interior work are of close-grain, and it is 
therefore a decided detriment to use a filler upon them. 

The following are open-grain woods, and should be filled : oak, ash, mahogany, baywood, 
chestnut, black walnut, rosewood and butternut. The following are called close-grain, and 
under no circumstances should any filler be used : white pine, white wood, southern pine, red 
cedar, basswood, birch, cherry, maple^ holly and magnolia. In cypress, owing to the peculiar 
nature of the wood, the quantity of resin and methylene which it contains, it is necessary 
to use a coat of Supreme Cypress Sealer, to be light;ly sand-papered in twenty-four hours 
and followed by a coat of No. 20 Surfacer, over which apply one or two coats of Shipoleum, 
Hyperion or other finishing varnish. The renovating of old floors is a matter of much interest 
to many, for the majority of people are obliged to live in houses which have been planned, built 
and finished by others than themselves. It is a usual experience to find that the preceding 
tenant has painted and shellacked floors of Georgia pine, and subsequently treated them to weekly 
rubbings with kerosene ! Just so long as the objectionable odor lasts these floors will show a 
polish, and the scratches and marred places on the surface are for that length of time partially 
concealed. Under this treatment the results are such that many careful housewives wonder and 
bemoan the fact that their floors will not look well. The incoming tenant will perhaps discover 
that these floors are Georgia pine and capable of better things. The Supreme Varnish Remover 
will clean and renovate such floors. The use of this saves very much on the actual cost and time 
entailed by other methods of cleaning old floors. It removes varnish, shellac, paint and wax 
equally well. Full directions for the use of this material will be found upon the labels of all the 
containers. It must be noted that this method of cleaning also removes the filler from the pores 
of oak flooring, and, therefore, it should be filled again. All floors, whether new or old, should 
in from four to six months after the first finishing, be given another coat of Supremis Floor 
Finish. Afterwards a single coat each year will be found sufficient, save where the floors are 
subjected to particularly hard wear, when they should receive one coat twice each year. 

13 




'blATELY, BEAUTIFUL AND IMPOSING ARCHITECTURE' 



Where it is possible to devote one room in a house to books, that room is, or should be, 
made a most attractive one. Simplicity in the color scheme, and dignity and formality of line, are 
together the keynote of the successful library. There should be no gaily flowered wall paper, 
or many-colored draperies used in such a room, nor should dainty bibelots decorate mantel 
shelf and table. The colors employed must be entirely harmonious and restful; the chairs, 
built on heavy lines, should be softly cushioned; the tables well arranged as to light and 
supplied with the necessary writing appliances, and magazines and papers may also find a place 
upon them. Great window seats, upholstered and cushioned, should invite the booklover 
to linger and read. In the placing of books, a certain regard for the coloring of their bindings 
must be maintained. Green in its various rich shades, dull and sapphire, or bookbinder's blue, 
strong yellow and crimson are all good colors for library walls. These walls should be either 
quite plain in color or at most show but two tones. The hangings for doorways and windows 
should be in a plain color also. The rugs and the variety of color found in the bookbinding 
will break the monotony sufficiently. The wood-finish used in a library is a very important 
part of its decoration. Oak, mahogany, cherry, birch, maple, sycamore and chestnut are all 
excellent woods to use when treated to the stain and finish most suitable to the situation of the 
room and style of furniture found in it. Where there is a great fireplace, and much glazed 
tiling is used about it, the finish of the standing woodwork should be dull. A room where 
Mission or Colonial Wood-Tint is used with crimson or rich blue walls, and gleaming ecru por- 
celain tiles, should have the ceiling tinted in the same shade as the tiles below. Where polished 
Dark Mahogany stain is used, green, or orange yellow will be found to give a good color 




•SHE ALLOWED A CABINETMAKER TO TAKE AWAV THE CHAIRS TO HIS SHOP" 



combination. With this, dull brown terra-cotta tiles would look well. The ceiling to be cafe 
au lait, or if the room is not well lighted the ceiling may be purely white. 

A combination of library and music-room is shown in' the picture on page 14. The stately, 
beautiful and imposing architecture ot this room is suggestive of the high uses to which it is 
put. The carved and finished woodwork seen here is of white mahogany, so treated as to 
show a soft waxen surface. This finish, which is as durable as it is beautiful, is obtained by 
treating the wood with three coats of Iv^ory Enamelite, the final coat rubbed with pumice stone 
and raw linseed oil. The exposed wall surface is covered with old rose moire silk in a pastel 
shade. The tiles, which narrowly border the great fireplace, are dull and in color soft green. 
The window draperies and the furniture coverings are of heavy brocade; on an old ivory ground 
are formal bouquets ot pale-hued flowers, surrounded by conventional designs of taintly-green 
leaves. The ceiling is tinted old ivory. The furniture, including the grand piano, is of mahogany, 
and the rugs are superb. Oriental ones, which show beautifully on the maple floor. This floor, while 
light in color, has been given a slight stain of Light Brown,making it somewhat darker than the stand- 
ing woodwork, and is highly polished. Three coats of Supremis Floor Finish will insure this effect. 

To any woman who is about to furnish, or refurnish even one room, I would say bear care- 
fully in mind the relative values of the furniture and fittings of the apartment. Consider each 
piece of furniture purchased or color selected, with a mental picture of the other colors and 
articles with which it will be surrounded. Wherever possible, try bits of drapery and samples 
of wall paper together, directly against the woodwork of the room in which it is proposed to use 
them. Also in selecting carpets or rugs, this same careful consideration must be given. 

15 




"ALL IS COOL, OUIET, RESTRAINED AND DIGNIFIED" 



So very much of woodwork is used in the homes of to-day that it behooves the woman who 
is about to furnish a house to look well to the effect this will have upon the coverings she 
selects for her walls and the hangings she chooses for doorways and windows, as well as upon 
the wood, style and finish of the furniture, she will place in the rooms. On the other hand, 
when the woodwork is to be changed to suit the times or the furniture, an exceedingly sate rule 
to lay down for the undecided woman is, "when in doubt use Ivory White Enamel or Eggshel- 
White." There can be but few exceptions found by which to prove this rule. Of course, it 
does not often occur that one wishes to paint the woodwork of a room where oak, mahogany, 
etc., are used, but to this also there are exceptions. I have recently seen a drawing-room, which 
was finished in mahogany, improved and lightened marvelously bv giving the mantelpiece seven 
coats of White Enamelite, finished with the Eggshel gloss. The remaining woodwork of the 
room was beautified and softened by this treatment, and the old pink used upon the side 
walls rendered much more harmonious. 

While the living-room of the house may be the room which shows most the characteristics 
and tastes of all of the members of the household, the dining-room and its fittings speak most 
clearly ot the personality of the woman who sits at the head of the table, although (paradoxical 
as it may sound), this is, of all rooms, the most impersonal one in a home. No delicate or 
artistic fancies, or unusual or freakish decorations should be attempted here. Tables, chairs, 
sideboards, glass closets and buffets are the hard and fast necessities of such a room, and only 
in form, style and finish, can they differ. However, one need only compare the inviting air of 
hospitality and dignified beauty that reigns in the dining-room of the ideal home of to-day, with 

i6 



the equally elegant and Impressive and often beautiful dining-rooms, of the great hotels. In 
these are used the same articles of furniture and perhaps the walls may show the same rich color, 
and similar fabrics may drape the doors and windows, and yet one recognizes at once the inde- 
finable something that distinguishes the one from the other. 

The first pictured dining-room, shown on page 15, is a very beautiful one. It will, how- 
ever, in looking at the picture, be at once recognized that the simple bent-wood chairs 
set about the massive oak table are quite out of keeping with the other fittings of the 
room. The mistress of the house, of which this room is a part, had a very definite idea of what 
her dining-room should be in every detail even before the plans for the house had left the 
architect's hands. The style of the room, she decided, should be suggestive of the early P'.nglish, 
the great iron-capped fireplace and heavily beamed ceiling, and high oak wainscot, embodying 
her idea. This house was built in a far western city, removed from the great centers where a 
varied choice of furniture is offered in the shops. The woman determined then to have her 
dining-room furniture built from drawings made under her own directions and from plates 
representing the period which she had in mind. All went well until the furniture was com- 
pleted, except for the stain and finish, which she desired to have correspond perfectly with that 
used upon the standing woodwork. For this woodwork KngHsh Oak Wood-Tint, No. 254, 
had been selected. It gave the rich deep brown of old English oak, the finish of Dead-Lac 
being, of course, quite dull. The table and chairs, she permitted herself to be persuaded should 
have an extra amount of money and work spent upon them, so she allowed a cabinetmaker ot 
very superior recommendations from a large eastern clientage, to take away the chairs to his 
shop. The table, in a prudent last moment, she decided could go after she had seen the result 
of his work on the chairs. The chairs came back looking exceedingly well. The dull old blue 
of the leather seats harmonizing perfectly with the dark brown of their frames, but alas and 
alack for her hopes ! " A trifle sticky, madam," the finisher said, " but bv to-morrow all will 
be well." They were so exceedingly "tacky" that she determined to await the to-morrow before 
letting her table go. The promised improvement did not show the next day, nor did the cabinet 
finisher. To make a long story short, those chairs seemed, instead of drying hard and clean, to 
grow daily more objectionably moist and stickv. The result was that by the expenditure of 
much labor and money — since she did not know of the varnish remover — the chairs were scraped 
and sand-papered down to the original wood and a fresh start made. The English Oak Wood- 
Tint was brushed upon the bare wood and the silex or quartz paste filler, which had been stained 
to the desired shade, was applied. This was followed by a coat of Crystalite Finish, which is 
exceedingly pale in color and dries very hard with a brilliant gloss. To obtain the soft finish 
desired for the dining-room furniture, the varnish was then rubbed down with powdered pumice 
stone and water, and a final rubbing given with pumice stone and oil. The result was all the 
most exacting could demand. The leather seats were again put In place, held by flat, dull silver 
nailheads; the table was stained and finished in the same way and the furniture was complete. 
The foot and a half of plaster which showed between the cornice of the ceiling and the wainscot 
had ten-inch hard plaster fleur-de-lis applied at intervals. The whole of this frieze was then 
sized and given a wash of water color in dull old blue. The high lights on the plaster figures 
being picked out in silver leaf The electric fixtures and hardware of this room were ot wrought 
iron, as was the great hood over the fireplace. 

Much of silver and crystal and sot'tly burnished pewter was used decoratively. The cur- 
tains and door-hangings were of silk tapestry and showed a conventionalized design of dull 
green foliage upon an old blue ground. The Wilton velvet rug, which almost entirely covered 
the dark oak floor, showed the same coloring in deeper tones, and suggested the same design. 
The tiles used about the fireplace were of terra-cotta and eight inches square. In color, they 
were a slightly lighter brown than the woodwork. 

17 




"THE QUESTION IS OFTEN ASKED AS TO THE POSSIBILITY OF USING A DIFFERENT FINISH ON BOTH 

SIDES OF A DOOR" 

It is an accepted fact to-day that things Colonial, both as to architectural detail and in 
furniture, are with us to stay. The fancy for them is no passing fad of the hour. Furniture of 
this interesting period shows best in a room where at least a portion of the woodwork is finished 
in Ivory White Enamel. 

In this 20th century the very acme of luxury and artistic beauty in house furnishing and 
interior decoration has been reached. We draw on all centuries and countries, past and present, 
to supply our need for beautiful effects, and so utilize the products of other ages and lands that 
all work harmoniously together to attain the ideal home of to-day. 

The dining-room, shown in the picture on page i6, is a room of purely Colonial type. 
The motif established by the woodwork has been carefully followed in the furnishing through- 
out. \ he wall space above the wainscot to the ceiling line is covered in delicate green 
Japanese grass cloth, and beyond in the conservatory on which the small windows open, one 
has glimpses of more greenery. All is cool, quiet, restrained and dignified. No single 
superfluous ornament is introduced. The Willard banjo clock is particularly typical, and it 
seems eminently fitting to have chosen it as the central ornament for the high narrow mantel- 
shelf. The old copper kettle at the left, together with the chafing-dish and decanters, show 
clearly that the usetul is ornamental here. The fine old mahogany sideboard is a very beautiful 
specimen of the real Colonial, and the things — characteristic of the room — which it holds are 
beautiful as well. The tiny pierced silver shades on the white wax candles are lined with green. 
All the silver and crystal are in quaint Colonial shape, and the polished surface of the table 
reflects the silver fern-dish and its fresh growing ferns. On the darkly stained floor. Oriental 



'■ AL'IHO' THE COLORING OF THIS ROOM IS VARIED, IT IS PERFECTLV HARMONIOUS" 

rugs give variety to the color scheme. The windows are hung with white Madras curtains 
embroidered with green figures. All of the hardware and fixtures are of dull brass. To obtain 
the Ivory Enamel, as seen here, which so closely resembles the China gloss of Colonial days 
previously referred to, White Enamelite must be used. The floor of this dining-room is of 
maple, lightly stained with Colonial Oak Wood-Tint. The stain brushed upon the wood and 
immediately wiped with a cheesecloth rag. Two coats of Supremis Floor Finish have completed 
it. A room oi this kind is so entirely pleasing that it is an excellent object lesson on restraint 
in furnishing. While it is not at all large, an air of real spaciousness is given by the simplicity 
ot its decoration. A flowered paper, pictures, or much heavy ornamentation of any kind, would 
have rendered this room small, stufty, and unattractive. In determining the general color for a 
room or apartment, it is necessary to consider well its exposure, lighting, and the dimensions of 
the room. A striped wall paper should never be used in a long and narrow room, nor a paper 
of large design in a room of unusually low ceiling. Where the shape of the apartment is difficult, 
much can be done through the medium of wall decoration to remedy the defect. When the 
ceiling is too high, drop the picture rail a few inches or even feet, and run the ceiling color or 
paper down to it, using for the side walls something that is entirely harmonious. If the ceiling 
is low, the side wall paper should reach to it, finished by the picture rail set close against the 
ceiling line. 

In a room that is well lighted, or of southern exposure, a very wide choice of color and 
style of wall covering is aflorded, but where the reverse is the case, the choice should be limited 
to shades of yellow or an occasional red. 

19 




"THE SMOOTH, GLOSSY SURFACE S(J ACQUIRED GREATLY Rh>hMBLES PORCELAIN' TILES' 



In the pretty cottage bed-chamber in the picture on page i8, the furniture and woodwork 
are of Southern pine and have been treated to the same stain and finish. The stain, which 
has been brushed upon the bare wood, is called Black. Oak Wood-Tint, No. 365, and is 
even more black than Flemish oak. After the stain has been applied, one coat of Dead-Lac is 
added, no rubbing or sanding being required to complete it. This is a particularly charming 
bed-room, the color scheme being new and daring. 

The walls are covered with a paper showing upon a white background great rich crimson roses 
and green leaves. The ceiling is tinted old ivory. The bed is of brass, and all hardware and 
fixtures and the writing appurtenances upon the black stained desk are of the same gleaming 
metal. Plaster casts, black and white pictures in flat black wood frames, a gold framed mirror 
and a picture in a wide gold mat, are effectively grouped upon the wall. A white Navajo 
blanket with a band of strong red at either end, together with some black fur rugs, furnish the 
floor. The windows are wide and deep, and one has a window seat built under it. This seat is 
upholstered in green corduroy, the exact shade of the deepest green in the foliage on the wall- 
paper. Next the glass, and caught back on either side of the panes, are curtains of sheer white 
organdy rufiled up the front. These are tied back with crisp smart bows of the muslin. The 
overdrapery hangs straight at either side, outlining and accentuating the window. These are of 
red satin de jean, the color of the roses. The strength of the coloring of this room is 
pronounced, and as pleasing as it is unusual. The question is often asked as to the possibility 
of using a different finish on two sides of a door. It will be seen in the picture that such is the 
case, and the contrast could not be more marked. It is not in the least objectionable. 

20 



The woodwork of the hall in this instance has had the Eggshel-White Finish used upon it. 

The mahogany furniture used in the bed-rooms shown on page 19, is a reproduction of 
some pieces now to be seen in the English Museum. The fine rich color of the stain 
used upon the mahogany is brought out by the rubbed finish with which it has been 
treated. To obtain this effect the Dark Mahogany Stain, No. 300, is first brushed upon the 
bare wood. The filler which follows this is stained to the desired shade. Then apply a coat of 
No. 20 Surfacer to be followed by a coat of Crystalite which should be sanded. After this apply 
a second coat of Crystalite and this must be rubbed with pumice stone and water, and a second 
time rubbed with pumice and oil. The polish so obtained is of waxen softness. 

The woodwork, of which there is but little in this room, has been treated with Eggshel- 
White Enamel. The side walls show a cool green, the ceiling a lighter shade ot the same color, 
'['he hangings at the windows and the covering of one large chair are of the same material. 
This is called English linen taffeta. The flax-colored ground is covered with a design formed 
of bouquets and garlands and floating bits of blue ribbon. The green of the foliage and old 
pink and deep crimson oi the flowers being particularlv pleasing. The great rug shows crimson 
and deep tan color. The lighteir green of the foliage is brought out again in the cut velour 
covering of the Morris chair. 

Although the coloring employed in this room is varied, it is perfectly harmonious. A stain. 
No. 3 JO Green Wood-lint, with Dead-Lac finish could be acceptably used upon the standing 
woodwork of a room so furnished. 

The side walls of a bath-room may be finished to the height of seven feet in adamantine 
or hard plaster. This is marked off in tiles. The wall above and also the ceiling should be 
oi rough or sand-finish plaster, painted in some shade of pale green. In a bath-room, oil 
paint should be used. 

The smooth plaster — to produce the best effect of tiling — should be given four coats of 
Chicago Varnish Company's Flat Lead, these to be followed bv three coats of White Enamelite. 
The smooth glossy surface so acquired greatly resembles porcelain tiles. 

Many careful housewives prefer this treatment for the bath-room as well as kitchen walls, 
as this simulated tiling is considered by them more sanitary and less likely to harbor microbes 
than where there is a possibility ot the loosening ot the porcelain tile. The woodwork is also 
of White Enamelite, finished with Eggshel-White Gloss.. The floor of maple is left in the 
natural color and treated w ith three coats of Supremis. 

The stains, enamels, and finishes, made and put upon the market bv Chicago Varnish Com- 
pany, do not spot from water, nor do they mar in any way as readily as others. 

When it is desired to obtain an ebony finish for furniture or standing woodwork, it may be 
secured by using Logwood and Iron Stain followed by three coats of Black Rubbing Varnish, 
rubbed down with pumice stone and water to give a soft finish. 

To secure a smooth working surfice on old and defaced woodwork or plaster walls I com- 
mend the following formula for a mixture which will give a perfect surface if applied as plaster. 
It dries very hard and smooth: 

Make paperhanger's paste and gilder's whiting into a moderately stiff" putty, then mix 
gilder's whiting in raw oil, a little drier and turpentine ; when mixed to a thick paste add 
a small quantity of white lead and incorporate thoroughly. The two are then mixed together 
and applied like plaster-of-paris with wall knives and smoothed in the same manner. All 
work should be over a coat of oil paint. When this coating is hard, apply a wash of thin oil 
paint which should be rubbed at once with lump pumice stone. When dry, sand-paper and 
finish as desired. Use dry or water colors with paste mixture, or oil colors with the other 
before combining. 

Quite a new enamel is offered in the Red-Lacq, which, as its name suggests, greatly re- 

21 




"SUPREME YACHT WHITE IS HEARTILY RECOMMENDED FOR COLUMNS OF PERGOLAS AND FOR GARDEN SEATS" 



sembles old Chinese Red Lacquer, its color being a vivid scarlet. It can be successfully used 
on the woodwork of dens, where it is desired to make a point of Chinese or any Oriental effects. 
In an Indian room panels of this may be overset with a lattice of pierced black wood, either ebony 
finish or stained with a Black Oak Wood-Tint, No. 365, and given the I^ead-Lac finish. The 
efJect of it so used is very foreign and artistic. Chairs may be built after a design suggestive 
of the Chinese and finished with this Red-Lacq. Also small oddlv shaped tables and cabinets. 

As this finish is practically weatherproof it is especially desirable for porch furniture of 
wicker or wood and for tubs and stands for plants. These enamels are also produced in other 
colors and a very effective scheme is made possible by their use. If, for instance, walls of rough 
plaster are tinted a pale clear yellow in a bed-room, and window draperies and chair covers are 
of the yellow rose design on glazed or waxed chintz, the woodwork may be treated with the 
same shade of yellow in enamel as the color on the side walls. Where a room is not large, 
employing the same color for walls and woodwork adds to its apparent size. 

These enamels may be successfully used upon furniture. Blues, pale and vivid, and several 
shades of green are obtainable, as well as yellows and grays. 

The ceiled roof of a porch can be stained if desired with any of the lighter shades of Wood 
Tints, or as is more usually the case, left in the natural color of the light wood and finished with 
three coats of Exterior-Oak Varnish. The porch picture on the first page shows a ceiling that 
has been so treated. 

Where the old-fashioned Venetian blinds are used the pale green enamel is most service- 
able in giving them a fresh, delightful color and a finish which will last. Also the Japanese 



Sedahras made from the finely split bamboo into a curtain are preserved and beautified by being 
e;iven two coats of Chicago Varnish Company's Flat Lead and two coats of pale green enamel. 
The porch furniture can show a deeper green or a corresponding shade, or be treated with Red- 
Lacq as desired. 

For the outside trim of the house, and also for porch furniture, Navalite or Exterior-Oak 
is a finish which gives great satisfaction, being a preservative of the wood and very durable. 

Supreme Yacht White is also heartily recommended to be employed in the finish of the 
columns of pergolas and garden seats, and outside work in general where constant exposure to 
wind and weather demands extra wearing qualities. This Yacht White, as its name suggests, is 
used upon boats, and gives greatest satisfaction wherever employed. 

To finish the woodwork of the kitchen, bath-room or laundry in a way that insures lasting 
qualities and presents a neat surface for the natural wood, Shipoleum is recommended. This is 
a fine varnish where paleness of color is not essential. It has a good lustre and dries dust-free in 
from four to six hours. 

The colored plates on page 25 were made from photographs and give an adequate idea of 
the beauty of color and the softness of finish produced on the various woods by these Unique 
Stains and Dead-Lac Varnish. 

It will be seen that the effect of any one stain is largely influenceci by the grain of the wood 
to which it is applied, and widely differing results may be obtained by the use ot the same stain 
upon different woods. 

Dark Brown Wood-Tint, 310, upon Birch is No. 1 on the color page, and the same 
stain on Hard Pine is shown in No. 1. Pollard Oak Wood-Tint, 253, is used upon Redwood 
in No. 3, and the same stain on Pine in No. 4. This gives much the same effect in color on 
Oak as on the Pine. No. 5 shows Weathered Oak Wood-Tint, 250, as used upon Oak, the 
dull gray shade in this is very beautiful. No. 6 is Hard Pine, upon which English Oak Wood- 
Tint, 254, is used, and No. 7 shows Oak with the same stain. No. 8 shows Mission Oak 
Wood-Tint, 252, on Oak. 

In No. 9 Light Brown Wood-Tint, 315, is used upon Hard Pine. A lovely silver gray 
overlaying golden brown is the characteristic of this stain and makes most attractive woodwork. 

No. 10 is Dark Mahogany Wood-Tint, 300, on Redwood, and No. 11 shows the Dark 
Green Wood-Tint, 330, used upon Svcamore. The same general color a few tones darker is 
seen on Oak where this stain is used. No. 12 shows Oregon Pine treated with it. 

Georgia Pine, Cypress and Redwood, as well as the more costly woods, can be made 
artistic and beautiful by the use of these stains. There are many other wood-tints made by 
this company, among these is one known as Bog Oak which is giving especial satisfaction. It 
shows much of light and shade and is rich dark brown in color, with a slight greenish cast. 
Forest Green Wood-Tint is especially pleasing when used in a dining-room where the furniture 
can be treated with the same stain and finish. 

With this primrose yellow for the side wall in plain or flowered paper can be used to make 
a charming room. If the room is of northern exposure and needs still further brightening, thin 
yellow silk sash curtains (China silk) could be hung at the lower half of the windows next the 
glass, full-length white net or muslin draperies falling over them. 

The colored enamels that are offered by this Company for the first time this season will be 
welcomed by many, and fill a long-felt want. As has been suggested elsewhere, their use on 
the woodwork of a bed-room where glazed chintz, flowered cretonne or any cotton fabric is used 
for hangings and furniture covers is giving the most satisfactory results, and for the woman who 
can use the brush and paint pot herself it insures the complete regeneration of many unsightly 

• 

23 



pieces of furniture. The old walnut dresser and the golden oak chiffonier, together with the 
battered maple washstand, can (after a treatment with the Varnish Remover also made bv this 
Company), it given two coats of Chicago Varnish Company's Flat Lead, followed by two coats 
of enamel in the color chosen, be converted into a most harmonious bed-room suite. The bed 
may be of brass, or an iron one can be given two coats of the enamel in the same color. 

This enamel is also most successfully used upon wicker and willow furniture; it is most 
pleasing where the chairs and quaint little settles have cushioned seats and backs made from the 
glazed chintz ot some striking floral design or of linen, taffeta or cretonne. A most stunning 
effect in a room may be obtained by using a frieze of the printed cotton. This can be from 
TO to 1 8 inches deep and be finished at the ceiling line with an inch-wide molding and by the 
picture rail at the lower edge. Both of the moldings should be of wood and finished to match 
the other woodwork of the room. The willow furniture can be enameled in the same color, 
and upholstered in cotton, like the frieze. The long window draperies are also made from it. 

A very delightful color scheme could be carried out by using a cretonne which shows on a 
clear white ground glossy green leaves and the freshly purple blossoms of the rhododendron. 
The woodwork ot the room and the furniture to be enameled in leaf-green enamel. The walls 
of rough plaster treated with a water-color wash of palest green, put on over heavy glue sizing; 
or if the walls are in smooth plaster a soft faint shade of green in cartridge paper should be 
chosen. This costs but twenty cents a roll. The windows in such a room should have sheer 
white muslin curtains hung next the glass, and these should be trimmed up the front with three- 
inch rufiles, and caught back with white cotton cords and tassels at either side of the window. 

The over-draperies of the cretonne can be laid in regular scant plaits and fall in straight 
folds to the sill or the window seat, as the case may be. A green and white cotton fringe about 
three-quarters ot an inch deep finishes the edges of these curtains very quaintly. Some wicker 
tables and built-in window seats and book cases, together with a mantel of perfectly simple lines, 
will complete a most charming living-room. 

To obtain the proper combination of colors in fabrics and furnishings of an apartment, one 
must have, either that delicate extra sense of fitness which unfortunately is vouchsafed to few, or 
the inexperienced one must make a careful research and study as to what is correct and appro- 
priate to use together. It is possible to anyone who is earnest and anxious, to succeed in making 
the interior of her home attractive ; but she must be armed with the determination to allow 
within her gates no color that is inharmonious, no piece of furniture which is unsuitable, and 
no decoration which has neither artistic beauty nor utility to recommend it. 

If she will try together the colors and shades which are to be used in the same room before 
the actual purchases are made, she will save herself from many pitfalls. 

Where varying shades of one color are to be introduced, it is quite necessary to try each 
individual shade with the others, as one jarring note will completely throw out the harmony of 
such a room. 

Blues are exceedingly difficult, and in most cases it is wiser to introduce some contrasting 
color, such as yellow in a tone that is in the right key to combine well. Reds also are dangerous. 
A shade of red, showing the least hint of crimson, can never be made to combine agreeably with 
the Pompeian or terra-cotta shades, nor should scarlet be introduced where any of the tones of 
mulberry red are seen. 

Green in all shades save olive is an excellent working field for almost all other colors, 
since the green of leaves and grass combine so beautifully with all floral color. Where a flowered 
or figured wall covering is chosen, it is well to select some one color found in it as the keynote 
for the coloring of the hangings, rugs or carpets, etc. There is much art in knowing where 
to stop painting a picture. The same may be said of furnishing a room. 

24 




LIBRARY of CONGRESS 
Two CoDles Received 
JUL 11 1904 
Cooyrlehf Entrv 

CLASS A, XXc. No. 

9 / w- 1 •-) 

COPY B / 



Copyrighted 1904 

by 

MARGARET C;REEN1.EAF 




■^^^H-^^^^BU.^ 




JUL H 190* 



